Dissertationen zum Thema „Contemporary French Philosopher“

This dissertation exposes the status of eros in the works of Levinas, Irigaray, and, Nancy. I begin by evaluating Levinas’s phenomenological analyses of eros in Time and the Other and Totality and Infinity. In order to fully appreciate this, however, I must necessarily also provide a summary overview of the central theme which guides Levinas’s work: ‘the Other.’ This leads Levinas to develop ethics as first philosophy, which in turn implies that the reduction of the Other to the same is the unethical gesture par excellence. Levinas formulates eros as the ‘equivocal par excellence’; a profane relation with the radical alterity of the feminine. Eros, for Levinas, inevitably lapses back to the economy of the same, and hence he looks to paternal fecundity to understand a relation with alterity untainted by erotic sensuality. Moreover, I identify the themes in Levinas’s work which guide this dissertation: the plurality of being, the tactility of erotic caressing, transcendence in eros, sexual difference, the affair between love and death, revisiting Plato’s Symposium, and, the erotic relationship with alterity. Having exposed these themes, and pre-empting a feminist critique of Levinas, I move on to the work of Luce Irigaray. After contextualising Irigaray’s feminist project, I expose and evaluate her critical reading of Levinas, particularly in her essay “The Fecundity of the Caress.” For Irigaray, Levinas mistakenly assumes a universal masculine subject, which in turn denies the feminine (and thus empirical women) a chance to be subjects. The fact that Levinas considers eros profane suggests, for Irigaray, that Levinas’s phenomenology of eros is haunted by a patriarchal bias evinced in the way he turns to paternity to salvage eros from a damnable carnality. Irigaray, in contrast, asserts eros as a relationship between the two real poles of sexual alterity. Eros thus holds potential as a just relation between the sexes. However, I find that Irigaray’s insistence on the biological markers of sexual difference becomes somewhat too idealistic. When compared with one another, Irigaray and Levinas arrive at an impasse which is solved by turning to the work of Jean-Luc Nancy. Nancy insists that love (including eros) cannot be thought as anything but an indefinite multiplicity. Nancy’s thought on love reflects his formulation of ‘being-singular-plural,’ an ontology which asserts ‘being-with’ is axiomatic in all philosophical investigations. In Shattered Love, Nancy deconstructs dialectics in order to show that love does not operate in a dialectical fashion. Both Levinas’s and Irigaray’s accounts of eros are exposed as dialectical. Nancy, in contrast, formulates love and sex/gender as the exposure of a subject to the relation with the other. Moreover, by examining Nancy’s thought on the body, eros can be derived as subtending all relations between sexed bodies. Thus Nancy figures eros as neither ideal nor profane, nor does he restrict eros to an ideal relation between the masculine and the feminine. However, Nancy’s opaque philosophy is not without fault. Although Nancy offers an interesting way in which to think eros, certain avenues of thought remain unexplored.
Dissertation (MA)--University of Pretoria, 2012.
Philosophy
unrestricted

Cette thèse doctorale en philosophie a pour sujet l’ensemble de la pensée de Georges Canguilhem, figure éminente de la philosophie française au XXème siècle, qui est aujourd’hui au cœur des intérêts d’un grand nombre d’études qui se développent aussi bien sur le plan historiographique que sur le plan purement théorique. Le travail qu’on présente ici se développe en trois volets. La première partie du travail est consacrée à une présentation de l’idée unitaire de la philosophie de Canguilhem. La deuxième développe une analyse de cette philosophie en identifiant quatre couples de concepts et de «mots-clés» qui permettent une présentation générale des lignes de recherche principales de Canguilhem : 1. Faits et Valeurs ; 2. Histoire et Concept ; 3. Connaissance et Vie ; 4. Technique et Société. Cette analyse conduit, dans ses dernières conclusions, à une idée de justice qui semble être au cœur du programme philosophique de Canguilhem. La troisième et dernière partie de la thèse est donc consacrée à examiner ce concept de justice. La couple de notions de «nécessité» et de «résistance» fournit une clé interprétative de la justice qui permet ainsi de relire l’unité de la philosophie canguilhemienne
This PhD Thesis in Philosophy deals with the thought of Georges Canguilhem as a whole. Canguilhem is a distinguished figure of the 20th century French philosophy and today his works are attracting the interest of a number of studies focused both on the historiographical and the theoretical level. This doctoral work is structured in three main parts. The first part provides a general presentation of the core idea which is the basis of the unity of the Canguilhem’s philosophical program. The second part aims to analyse this philosophy by identifying four couples of concepts and "key-words" permitting a general presentation of the main lines of research of Canguilhem’s work: 1. Facts and Values; 2. History and Concept; 3. Knowledge and Life; 4. Technique and Society. This analysis tends to the conclusion that a certain idea of justice forms the basis of the philosophical program of Canguilhem. The third and last part of the PhD Thesis examines this concept of justice finding in the conceptual couple given by "necessity" and "résistance" both a key to interpreting the notion of "justice" and a way to read the unity of Canguilhem’s philosophy

The thesis takes the French revue Lignes (1987-present) as its object of study to provide a new account of French intellectual culture over the last twenty-five years. Whilst there are now many studies covering the role of such revues throughout the twentieth-century, the majority of such monographs extend no further than the mid-1980s: the major novelty of this thesis is extending these accounts up until the present moment. It is largely assumed that a reaction against the Marxist and structuralist theories of the 1960s and 1970s led to embrace of liberalism and an intellectual drift to the right in France from the 1980s onwards: whilst largely supporting this account, the thesis attempts to nuance this narrative of the fate of the intellectual left in the following years by showing the persistence of what can be called a politicised 'French theory' in Lignes, and a returning left-wing militancy in recent years. In doing so, it will both reveal under-studied aspects of well-known thinkers, such as Jean-Luc Nancy, Jacques Rancière and Alain Badiou, as their thought develops through their participation in a collaborative, periodical publication, and introduce lesser known thinkers who have not received an extended readership in Anglophone spheres. Lignes also argues for the continued persistence and relevance of the thought of a previous generation of thinkers, notably Georges Bataille, Maurice Blanchot and Dionys Mascolo, and the thesis concludes by examining the potential role 'French Theory' could still have in France. Furthermore, as revues provide a unique nexus of intellectual, cultural, social and political concerns, the thesis also provides a unique history of France from the fall of the Berlin Wall to the 2007 financial crisis and the Arab Spring. Much of the thesis is concerned with contextualising intellectual debates within a period characterised by the moralisation of discourses, a return of religion, the global installation of neo-liberalism and the eruption of immigration as a controversial European issue. From a relatively theoretical and politically stable position to the left of the Parti socialiste, Lignes therefore provides a privileged vantage point for the mutations in French social and cultural life throughout the period.

Foucault en 1983 prononce pour la première fois, durant une leçon au Collège de France, le syntagme « ontologie critique de nous-mêmes ». Une telle dénomination s’ajoute aux autres termes choisis rétrospectivement par Foucault pour définir sa démarche philosophique : durant ces années quatre-vingts il utilise à la fois « ontologie historique de nous-mêmes », « ontologie de l’actualité », « ontologie du présent », « ontologie de la modernité » et enfin « ontologie de nous-mêmes ». Cette série de formules synonymiques renferme l’objective premier de ma thèse : expliciter ce qu’est l’ontologie critique de nous-mêmes. L’enjeu fondamentale de ce travail consiste en fait d’une part à interroger et comprendre le syntagme en question, de l’autre à évaluer la possibilité de la construction d’une genèse de cette idée dans le cadre global de la philosophie foucaldienne
In 1983 Foucault pronounces for the first time, during a lesson at the Collège de France, the syntagma “Critial Ontology of Ourselves”. Other similar denominations are used by Foucault in a retrospective way to define his philosophical researches, indeed throughout 1980 he uses at the same time: “Historical Ontology of ourselves”, “Ontology of the Actuality”, “Ontology of the present”, “Ontology of modernity”, et finally “Ontology of ourselves”. This list of synonyms concerns the principal aim of my dissertation: understand what is the Critical Ontology of Ourselves. The crucial point of this work consist from one hand in interrogating and understanding the syntagma above mentioned, from the other in verifying the possibility of the construction of a genesis of this idea

Entre la fin de la Seconde Guerre mondiale et le début des années 1960, les représentants les plus importants du courant phénoménologique en France, Jean-Paul Sartre, Maurice Merleau-Ponty et Trân Duc Thào, estiment non seulement qu'il est nécessaire de se confronter au marxisme, mais également que l'articulation entre phénoménologie et marxisme constitue l'un des enjeux essentiels de la philosophie dans le monde contemporain. L'objet de notre recherche est de comprendre la spécificité du travail philosophique que chacun de ces auteurs opère sur ces deux courants en apparence si opposés afin de rendre possible leur synthèse. Ce travail montre notamment comment le projet initial de 1944 est progressivement mis en question et reconfiguré au contact des évolutions historiques et politiques, des débats philosophiques et du développement des sciences humaines. Nous entendons ainsi restituer les enjeux et inventions conceptuelles de ce qui restera l'un des moments les plus féconds et originaux de la philosophie française contemporaine
Between the end of the Second World War and the beginning of the 1960s, the chief representatives of the phenomenological school in France, Jean-Paul Sartre, Maurice Merleau-Ponty and Tran Duc Thao, not only considered that they had to confront Marxism in their works : they deemed the endeavour to combine Marxism with phenomenology one of the major tasks of philosophy in the modern world. The object of our research is to understand the specificity of the philosophical work each performed on these two apparently incompatible schools of thought, in order to make their synthesis possible. Our work traces the way in which the initial project of 1944 was progressively questioned and reworked in the wake of political and historical change, philosophical debates and the development of human sciences. Thus we hope to bring to light the underlying stakes and conceptual innovations of what remains one of the most fertile and original moments in contemporary French philosophy

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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
A presente tese analisa o tema do ensino da filosofia no ensino superior, tendo em vista discutir o problema do ofício do filósofo quando sua tarefa é ensinar a filosofia. Nesse sentido, o tema analisado e o problema discutido na tese têm como ponto de partida as questões suscitadas no exercício da docência da disciplina Filosofia em cursos de graduação de outras áreas, objetivando contribuir tanto para buscar outros sentidos a essa prática quanto para os estudos sobre o ensino da filosofia no Brasil. Por meio de uma revisão bibliográfica sobre o ensino da filosofia no Brasil, e da leitura de autores clássicos (Kant e Hegel), procuramos encontrar ressonância de nosso problema na literatura sobre o assunto. Essa revisão além de não responder ao problema, ampliou-o, pois, pudemos notar que os questionamentos sobre o ensino da filosofia se agrupavam em três grupos: sobre a importância, sobre o conteúdo e sobre o método para se ensinar a filosofia. Com o objetivo de escapar dessas formas de problematização, recorremos a Gilles Deleuze e Michel Foucault para propor uma outra maneira de encaminhar uma problematização de modo que o problema do ensino da filosofia não recaísse nesse mesmo registro. Com Deleuze pudemos compreender que existem mecanismos, chamados por ele de imagens dogmáticas do pensamento, que aprisionam os problemas a respostas preestabelecidas. A partir disso, fizemos a relação dessa noção com os problemas que eram colocados pelo ensino da filosofia, os quais funcionavam como essas imagens dogmáticas do pensamento. Com Foucault procuramos um modo de problematizar no qual pudéssemos estar, simultaneamente, como elemento e ator desse problema. Com isso, circunscrevemos um problema presente no ensino da filosofia que se plasma no empobrecimento da experiência, causado pela excessiva preocupação com a transmissão de conhecimentos através da...
This thesis analyses the teaching of philosophy in undergraduate courses in order to discuss the problem of the philosopher’s work when his task is to teach philosophy. Thus, the issue analyzed and the problem discussed in the thesis have as a starting point the matters raised in teaching the discipline of philosophy in undergraduate courses of different areas, aiming to contribute to seek other senses both to this practice and to the studies on the teaching of philosophy in Brazil. Through a literature review on the teaching of philosophy in Brazil, and reading classic authors (Kant and Hegel), we tried to find resonance of our problem in the literature about the issue. This review not only did not answer to the problem, but also increased it, because we could note that the questions on the teaching of philosophy were divided into three groups: concerning the importance, the content and the method to teach philosophy. Aiming to avoid these ways of problematization, we turned to Gilles Deleuze and Michel Foucault in order to propose another manner of conducting a problematization so that the problem of teaching of philosophy did not remain in that same scope. Together with Deleuze, we could understand that there are mechanisms, named images of thought, which enclose the problems to pre-established answers. From that, we set a relation of this notion with the problems that were put by the teaching of philosophy, which worked as those images of thought. With Foucault, we sought a way of problematizing in which we could be both a part and an actor of that problem. Thus, we circumscribed an existing problem in the teaching of philosophy that takes place in the impoverishment of experience, which is caused by the excessive concern with the transmission of knowledge through the explanation. Looking for ways that we would allow us to think of a teaching of philosophy which assured the... (Complete abstract click electronic access below)

Orientador: Pedro Angelo Pagni
Banca: Maria Eugênia Morais Vilela
Banca: Divino José da Silva
Banca: Sinésio Ferraz Bueno
Banca: Silvio Donizete de Oliveira Gallo
Resumo: A presente tese analisa o tema do ensino da filosofia no ensino superior, tendo em vista discutir o problema do ofício do filósofo quando sua tarefa é ensinar a filosofia. Nesse sentido, o tema analisado e o problema discutido na tese têm como ponto de partida as questões suscitadas no exercício da docência da disciplina Filosofia em cursos de graduação de outras áreas, objetivando contribuir tanto para buscar outros sentidos a essa prática quanto para os estudos sobre o ensino da filosofia no Brasil. Por meio de uma revisão bibliográfica sobre o ensino da filosofia no Brasil, e da leitura de autores clássicos (Kant e Hegel), procuramos encontrar ressonância de nosso problema na literatura sobre o assunto. Essa revisão além de não responder ao problema, ampliou-o, pois, pudemos notar que os questionamentos sobre o ensino da filosofia se agrupavam em três grupos: sobre a importância, sobre o conteúdo e sobre o método para se ensinar a filosofia. Com o objetivo de escapar dessas formas de problematização, recorremos a Gilles Deleuze e Michel Foucault para propor uma outra maneira de encaminhar uma problematização de modo que o problema do ensino da filosofia não recaísse nesse mesmo registro. Com Deleuze pudemos compreender que existem mecanismos, chamados por ele de imagens dogmáticas do pensamento, que aprisionam os problemas a respostas preestabelecidas. A partir disso, fizemos a relação dessa noção com os problemas que eram colocados pelo ensino da filosofia, os quais funcionavam como essas imagens dogmáticas do pensamento. Com Foucault procuramos um modo de problematizar no qual pudéssemos estar, simultaneamente, como elemento e ator desse problema. Com isso, circunscrevemos um problema presente no ensino da filosofia que se plasma no empobrecimento da experiência, causado pela excessiva preocupação com a transmissão de conhecimentos através da... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This thesis analyses the teaching of philosophy in undergraduate courses in order to discuss the problem of the philosopher's work when his task is to teach philosophy. Thus, the issue analyzed and the problem discussed in the thesis have as a starting point the matters raised in teaching the discipline of philosophy in undergraduate courses of different areas, aiming to contribute to seek other senses both to this practice and to the studies on the teaching of philosophy in Brazil. Through a literature review on the teaching of philosophy in Brazil, and reading classic authors (Kant and Hegel), we tried to find resonance of our problem in the literature about the issue. This review not only did not answer to the problem, but also increased it, because we could note that the questions on the teaching of philosophy were divided into three groups: concerning the importance, the content and the method to teach philosophy. Aiming to avoid these ways of problematization, we turned to Gilles Deleuze and Michel Foucault in order to propose another manner of conducting a problematization so that the problem of teaching of philosophy did not remain in that same scope. Together with Deleuze, we could understand that there are mechanisms, named images of thought, which enclose the problems to pre-established answers. From that, we set a relation of this notion with the problems that were put by the teaching of philosophy, which worked as those images of thought. With Foucault, we sought a way of problematizing in which we could be both a part and an actor of that problem. Thus, we circumscribed an existing problem in the teaching of philosophy that takes place in the impoverishment of experience, which is caused by the excessive concern with the transmission of knowledge through the explanation. Looking for ways that we would allow us to think of a teaching of philosophy which assured the... (Complete abstract click electronic access below)
Doutor

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The purpose of our thesis was to reconstruct fundamental aspects of Michel Foucault's philosophy from a problematic cell inscribed within Histoire de la Folie à l'âge classique. It concerns the thesis which claims that the impossibility of being mad is the first qualification acquired by the Cartesian subject, even before Cogito statement. Foucault's polemical stance gives raise to the episode known by the Foucault-Derrida dispute. In the text Mon corps, ce papier, ce feu , written in 1972, Foucault explicits such reading by identifying in Descartes's Meditations a double weft: a demonstrative discourse guided by the order of reasons and an ascetic discourse guided by the performatic exercise of creating the subject of knowledge. The present research has showed that, in such a rare moment when Foucault puts himself in the role of a commentator of a philosophical text, the highlighted aspects in the Cartesian text are equally emblematic of his own philosophical method. Characterized by pointing out the visible and the enunciable, Foucault's histories also make up a double weft and encourage a kind of ascesis
O objetivo da tese foi reconstituir aspectos fundamentais da filosofia de Michel Foucault a partir de uma célula problemática inscrita em Histoire de la Folie à l'âge classique. Trata-se da tese que afirma que a impossibilidade de ser louco é a primeira qualificação adquirida pelo sujeito cartesiano, antes mesmo da enunciação do cogito. A polêmica posição de Foucault dá origem ao episódio que veio a ser conhecido como querela Foucault-Derrida. No texto Mon corps, ce papier, ce feu , de 1972, Foucault explicita esta leitura identificando no texto das Meditações uma dupla trama: um discurso demonstrativo guiado pela ordem das razões e um discurso ascético orientado pelo exercício performativo de criação do sujeito de conhecimento. A pesquisa mostrou que, neste raro momento em que Foucault se colocou no papel de comentador de um texto filosófico, os aspectos realçados no texto cartesiano são igualmente emblemáticos de seu próprio método filosófico. Particularizando-se pelo apontamento de visíveis e enunciáveis, as histórias foucaultianas também perfazem uma dupla trama e incitam uma espécie de ascese

A partir da suspeita de que o pensamento e sua expressão não se limitam a uma única forma, o presente trabalho investiga de que modo podemos pensar, a partir de Fernando Pessoa, uma relação possível entre filosofia e literatura. Quais os pressupostos que permitem considerar o fenômeno heteronímico pessoano como um expediente trágico que diz respeito ao próprio pensamento, ou ainda, como entrever, no projeto pessoano, o lugar de embate trágico, por excelência entre aquilo que somos, enquanto sujeitos, e os processos que franqueiam à escrita a constituição de uma subjetividade outra? Desdobrada em heterônimos, a obra de Pessoa comportaria em si a justaposição de formas diversas de ver e compreender o mundo, mas o processo pelo qual este desdobramento se dá poderia ser tomado como anterior às formas constituídas das personalidades particulares, apresentando-se como uma disposição anti-dialética do pensamento. Privilegiando como ponto de partida os escritos do heterônimo louco e filósofo de Fernando Pessoa, António Mora, nosso intuito é analisar de que modo sua crítica à tradição metafísica ocidental, em ressonância com a filosofia francesa contemporânea de inspiração nietzschiana, pode se constituir como um intercessor capaz de dar a ver uma potência impessoal atuando entre a filosofia e a literatura, representada pelo verso de Alberto Caeiro: a natureza é partes sem um todo"
Based on the suspicion that thought and its expression are not bound by a unique form, the present work makes use of Fernando Pessoas writings to investigate by which way we could come to terms with a possible relation between philosophy and literature. What are the presuppositions that allow us to consider the heteronymical pessoan phenomenon as a tragic procedure of thought, or yet, how to detect, in the pessoan project, the place of a tragic clash between the condition that we embody, as a subject, and the processes that unveil, through writing, the constitution of an alternative subjectivity? Spread through different heteronyms, Pessoas oeuvre could admit in itself the juxtaposition of diverse ways of seeing and comprehending the world, although the process by which this movement is activated could be taken as anterior to the finished forms of particular personalities, appearing as an anti-dialectical disposition of thought. Privileging as a starting point the writings of António Mora, the mad and philosopher heteronym of Fernando Pessoa, our aim is to analyze by which way its critique on the metaphysical Western tradition through the resonance with contemporary French philosophy inspired by Nietzsche can constitute itself as a powerful intercessor that is able to foresee an impersonal power flowing through philosophy and literature, and which can be apprehended by Alberto Caeiros verse: nature is parts without a whole"

Chez Patrick Modiano, le souvenir décousu qui peut accompagner le dysfonctionnement de la mémoire constitue un thème principal. Le concept de la mémoire imparfaite est élaboré à partir des expériences traumatisantes de l'enfance et de la jeunesse du narrateur. Afin de connaître une vérité cachée, il recherche des indices dans les bribes d'un souvenir : cela le conduit à réfléchir au passé de façon rétrospective. La dissociation entre le « je-narrant » et le « je-narré » est toujours présente, elle est la source de cette chronologie particulière dans les romans de Modiano. L'élasticité temporelle entre les deux, le désordre entre les événements du passé sont toujours présents. La vitesse temporelle n'est pas uniforme. Il semble que ce procédé particulier de narration peut exprimer une mémoire intermittente. Dans notre thèse, nous étudions en profondeur les mécanismes de la mémoire chez Modiano à travers l'approche narratologique, liés à une mise en intrigue propre à l'auteur. Plusieurs plot-lines s'imbriquent l'une dans l'autre, ce qui empêche de distinguer une main plot-line des sub plot-lines. D'autre part, les insertions des propos du « je-narrant » qui considère son passé mettent en scène un souvenir dans un roman. En fin d'étude, nous mettons en lumière les thèmes de prédilections de Modiano, autour de la mémoire tragique de la jeunesse et du néant des origines qui se révèlent à l'intérieur de la mémoire
In the works of Patrick Modiano, the incoherent memorys which are to be accompanied by the dysfunction is an important theme. The concept of the imperfect memory could develop after the experiencing psychotrauma in youth and childhood. To find the hidden truth, the narrators search for indications in the parts of the story memorized in a retrospective way. The separation between « I narrate » and « I narrated » is always present. It is the source of chronology particular to the works of Modiano. The elasticity of the time between both of them, or an order and a disorder of chronology between the events coexist, while each story is not uniform in speed of development. It seemed that the particular method of narration could represent an intermittent memory. In our thesis, we study the mechanism of memory tied in the plotline proper to the works of Modiano, throught the narratological approach. More than one plotline prevents making a clear distinction between plot-lines and sub plot-lines. The insertions comments of the narrator who considers an event of past time produce an memory. At the end of our thesis, we try to emphasize his poetry and theme preference with a tragic memory in the youth and with the worthlessness of birth that reveal itself inside the memory

Les dramaturgies contemporaines répondent à l’exigence d’une écriture du temps au théâtre en renouvelant notamment leur forme, leur langue et leur adresse. Le drame n’est plus « action » au présent. Il devient l’expression d’un retour, celui du passé. Le jeu avec le passé est le va-et-vient sans fin et toujours renouvelé du passé vers le drame et du drame vers le passé. Cette étude se concentre sur neuf pièces écrites entre 1980 et 2000 par trois dramaturges français, Patrick Kermann, Jean-Luc Lagarce et Philippe Minyana. Dans ces écritures, le passé revendique sa place [et la prend] dans l’actualité de la représentation. En investissant toute la structure du drame, il bouleverse l’organisation du discours, la représentation de l’espace et la possibilité de l’action. Cette revendication s’effectue également à la faveur du retour des morts et sur la mort. Tandis que la catastrophe a déjà eu lieu, le désastre continue d’abîmer et déconstruire la fable. Joués par le passé, le drame et ses protagonistes témoignent d’un héritage « sans testament ». Privé d’identité, le personnage accepte ou subit le jeu sans pour autant parvenir toujours à en proposer une interprétation
Contemporary theatre answers the requirement of a theater writing of the time by renewing in particular its form, its language and its addressee. Drama is no longer an “action” taking place in the present. It becomes the expression of a return, that of the past. Playing with the past corresponds to endless comings and goings from the past to drama and from drama to the past. This study focuses on nine plays written between 1980 and 2000 by three French dramatists, Patrick Kermann, Jean-Luc Lagarce and Philippe Minyana. In these writings, the past claims its place [and takes it] in the performance actuality. By investing the whole drama structure, it disrupts the organization of speech, the representation of space and the possibility of action. This claiming also proceeds from the return of the dead and to death. Whereas catastrophe already took place, disaster keeps on damaging and deconstructing the fable. Played by the past, drama and its protagonists testify an inheritance left “by no testament”. Deprived of identity, the character accepts or suffers the way he is played, without necessarily and systematically managing to offer an interpretation

Orientador: Silvio Donizete de Oliveira Gallo
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo : Reafirmando as potências que existem na filosofia e na literatura, através de encontros entre textos de Gilles Deleuze-Félix Guattari e de contos de João Guimarães Rosa, este trabalho discute a educação como plano de imanência, como promotora de agenciamentos, como experimentação. Destacam-se também, neste texto, além de imanência e agenciamento, o conceitos de rizoma; territorialização/desterritorialização/reterritorialização; e rostidade. A discussão teórica é atravessada por textos literários que vibram os conceitos. A literatura pulsa criação, é ritmo que convida a. A arte, tão presente nos escritos de Deleuze-Guattari, atualiza também aqui os conceitos filosóficos, repetindo-os. Nessa repetição, em uma escrita-experimentação, repleta de movimentos, atravessada, que pulsa, que segue caminhos tresloucados, que faz fugir e agir, que evita um único rosto, reafirma-se a potência da educação. Cumprindo seu papel de dissertação de mestrado em Filosofia da Educação, o texto busca movimentar o nosso pensamento em uma área aberta, povoada por filósofos e artistas, que a atravessam com seus saberes. Por sugestão dos membros da banca examinadora, anexei à dissertação o filme-apresentação em DVD que fiz para a exposição deste trabalho no dia da defesa. Uma experimentação também, outra linguagem para falar desta e pensar a educação
Abstract : Reassuring the potentiality of philosophy and literature, through encounters of texts by Gilles Deleuze-Félix Guattari and short stories by João Guimarães Rosa, we have considered education as a plane of immanence, as a possibility of assemblage, as experimentation. Other philosophical concepts will be observed in education: rhizome, territorialization/deterritorialization/reterritorialization, and faciality. The theoretical argument will be related to literary texts which are connected to the concepts. Literature pulses creation, it is an inviting rhythm. Art, so present in Deleuze-Guattari¿s writings, actualizes the philosophical concepts, and it repeats them. In repetition, in na experimentation-writing, full of movements, crossings, pulsations, that follows surprising paths, that causes flight and acting, that avoids an only face, we can assure the potentiality of education. It is a master¿s dissertation in Philosophy of Education that aims to make our thoughts of education more open, by interconnecting philosophy and art, and the ways their specific knowledge is intertwined. A film-experimentation used to present this dissertation is attached to the written material, as suggested by the examining board
Mestrado
Filosofia da Educação
Mestre em Educação

De nombreuses études ont tenté de définir les formes d’écritures relatives à l’expérience du soi face aux atrocités de la guerre. En revanche, la recherche testimoniale et littéraire ignore l’idée inverse : comment témoigner d’une guerre que l’on n’a pas vécue ? Cette question non investie jusqu’à présent soulève aujourd’hui des enjeux éthiques et politiques importants. L’occultation de la guerre menée par le monde occidental est essentielle pour la compréhension de la situation politique dont témoignent de nombreux auteurs contemporains. Au cœur de leurs récits de guerre, des écrivains contemporains tels que Jean Rouaud, Jean-Yves Jouannais, Laurent Mauvignier et François Bon livrent des témoignages sur des guerres auxquelles ils n’ont pas pris part. Ils le font à la première personne et au présent, tout en entrant dans les moindres détails des faits racontés. Ces écrivains attestent d’événements relatifs aux guerres passées comme aux conflits actuels. Ces témoignages ne s’appuient exclusivement ni sur la littérature scientifique ou professionnelle ni sur les récits partagés par des témoins directs de la guerre. Ainsi, le fait que ces auteurs n’aient pas assisté à la guerre leur permet de livrer des témoignages pionniers sur les situations actuelles de conflit comme sur les guerres historiques. Pour répondre à cette question de recherche, cette thèse analyse le statut du témoignage dans l’œuvre de Jean Rouaud, écrivain pionnier de cette tendance littéraire, et en retrace l’évolution
The present thesis defines a new model of testimony written by contemporary authorswho were not physically present in the conflicts their writings describe in first-person narrative and the present tense. This literary corpus constitutes a watershed in the history of modern testimonial literature, which ascribes absolute authority as war witnesses to ‘the men who were there’ in the conflict zone during the war. Using first-person narratives, intimate language, and detailed writing, contemporary writers such as Jean Rouaud, Pierre Bergounioux, François Bon, Jean-Yves Jouannais, Pierre Michon, and Annie Ernaux witness events from the two world wars and from current conflict zones. They do not provide testimonies from a perspective external to war; they do not base their writings on scientific or professional literature nor rely on survivors’ ‘first-hand testimonies’. Further, in their writings, traveling to distant conflict zones is not a prerequisite to become an eyewitness to the injustices that occur there. Instead, for these writers, the intergenerational consequences of theworld wars and the involvement of France in conflicts around the world make them witnesses of those conflicts. The fact that these authors never participated directly in a war constitutes a new approach to the ‘eyewitness’ that is valuable for understanding contemporary reality. In an attempt to trace the nature of this tendency in its literary, ethical, and political aspects, the present study is devoted to a lateral reading of the corpus of Jean Rouaud, the pioneering and leading writer of this tendency

Le but de ce travail est de reconstruire la structure théorique et l’aspect historique de la notiond’« événement » dans le milieu de la phénoménologie française contemporaine, et en particulierdans les travaux de J. Derrida, J.-L. Marion et C. Romano. Le processus de reformulation de laphénoménologie qui est l’objet de notre étude s’étend des années 80 aux années 2000 et nepouvait adopter une approche diverse de celle qui consiste précisément dans le développementdu thème de l’événement, dont on a tenté de mettre en lumière les différentes traditions dont ilhérite. Il s’agit en général d’une référence mixte à la phénoménologie heideggerienne del’inapparent et au post-structuralisme. La question du statut de l’anthropos et du futur de laphénoménologie demeure en arrière-fond grâce aux questions ouvertes par la notion d’ «événement »
The purpose of this work is to provide a theoretical and historical reconstruction of the notion of« event » in the field of French contemporary phenomenology and as it is developed in the worksof three main authors, notably J. Derrida, J.-L. Marion et C. Romano. The starting point of thework is in the attempt to reform French phenomenology from 80’s till nowadays through theconcept of event. Accordingly, the heritage of French contemporary phenomenology is identifiedin the tangle of Heidegger’s inapparent phenomenology as well as in post-structuralism. Thequestions cornering the definition of anthropos and the future of phenomenology are thereby inbackground

This thesis and its corresponding art installation, Lessons from Ziggy, attempts to deconstruct the variables prevalent within several complex systems, analyze their transformations, and propose a methodology for reasserting the soap box within the display pedestal. In this text, there are several key and specific examples of the transformation of various signifiers (i.e. media-bred fear’s transformation into a political tactic of surveillance, contemporary freneticism’s transformation into complacency, and community’s transformation into nationalism as a state weapon). In this essay, all of these concepts are contextualized within the exponential growth of new technologies. That is to say, all of these semiotic developments must be framed within the post-Internet sphere.

La pensée de Nietzsche a joué un rôle déterminant et récurrent dans les discours et les débats qui ont formé et continuent de façonner le domaine de l’histoire de l’art, mais aucune analyse systématique de cette question n’a encore vu le jour. L’influence de Nietzsche a été médiée par divers interlocuteurs, historiens de l’art et philosophes, qui ont encadré ces discussions, en utilisant les écrits du philosophe comme toile de fond de leurs propres idées. Ce mémoire souhaite démontrer que l’impact de Nietzsche dans le champ de l’histoire de l’art existe mais qu’il fut toujours immergé ou éclipsé, particulièrement dans le contexte anglo-américain, l’emphase étant placée sur les médiateurs de ses idées en n’avouant que très peu d’engagement direct avec son œuvre. En conséquence, son importance généalogique pour certains fondateurs de la discipline reste méconnue; sa présence réellement féconde se traduit plutôt comme une absence ou une présence masquée. En vue de démontrer ce propos, nous regardons donc le contexte nietzschéen qui travaille les écrits de certains historiens de l’art, comme Jacob Burckhardt et Aby Warburg, ou des philosophes et d’écrivains ayant marqué la discipline de l’histoire de l’art (plus particulièrement dans le cadre de l’influence de la « French Theory » sur l’histoire de l’art anglo-américaine depuis la fin des années 1970) : Martin Heidegger, Michel Foucault, Jacques Derrida, Gilles Deleuze et Georges Bataille. Nous examinons certaines voies par lesquelles ses idées ont acquis une pertinence pour l’histoire de l’art avant de proposer les raisons potentielles de leur occlusion ultérieure. Nous étudions donc l’évolution des discours multiples de l’histoire comme domaine d’étude afin de situer la contribution du philosophe et de cerner où et comment ses réflexions ont croisé celles des historiens de l’art qui ont soit élargi ou redéfini les méthodes et les structures d’analyse de leur discipline. Ensuite nous regardons « l’art » de Nietzsche en le comparant avec « l’art de l’histoire de l’art » (Preziosi 2009) afin d’évaluer si ces deux expressions peuvent se rejoindre ou s’il y a fondamentalement une incompatibilité entre les deux, laquelle pourrait justifier ou éclairer la distance entre la pensée nietzschéenne sur l’art et la discipline de l’histoire de l’art telle qu’elle s’institutionnalise au moment où le philosophe rédige son œuvre.
Nietzsche’s philosophy has played an active role in many recurring art historical debates that have permeated the discipline since its inception, yet there exists no systematic analysis of his impact. His influence has been mediated through various interlocutors, art historical and other, that have framed these discussions, while using his writings as an intellectual backdrop to their own ideas. This thesis attempts to show that Nietzsche’s engagement with art history has been submerged or overshadowed by an emphasis on the mediators of his thought with little direct engagement with his work, particularly so in the Anglo-American context. The consequence of this is that his genealogical importance for many of the founders of the discipline is left unacknowledged; hence, his actually potent presence is translated as an absence or oversight. In order to demonstrate this, we explore the Nietzschean heritage that informed the works of art historians like Jacob Burckhardt and Aby Warburg, and that of philosophers and writers who have marked the art historical discipline (particularly so with the surge of “French Theory” in Anglo-American art history as of the late 1970s): Martin Heidegger, Michel Foucault, Jacques Derrida, Gilles Deleuze and Georges Bataille. Once we have identified some of the trajectories on which his ideas have gained relevancy for art history, we look at the potential reasons for their subsequent occlusion. In order to do this, we begin by examining the evolving methodologies in historiography so as to situate his contribution to this domain of study and see where these reflections have intersected with those of art historians who either broadened or reshaped the methods and analytical structures of their own discipline. We finally compare Nietzsche’s 'art' to the “art of art history” (Preziosi 2009) and determine whether these two expressions can be bridged or whether there is a fundamental incompatibility that may explain the discrepancy between his treatment of art and that which concerned art history at the moment of its contemporaneous institutionalisation.

Bien qu’elle n’ait jamais été abordée de front par Jacques Derrida, la question du pervertible se conçoit à maintes reprises dans son œuvre sous l’angle de paradoxes et par le biais de questions comme celles de l’hospitalité ou de la promesse. Cette thèse explore ainsi les limites et la portée de la notion protéiforme de pervertibilité, ses enjeux et ses manifestations, de même que son rapport au langage et au sens. Pluridisciplinaire, elle se penche sur les concepts philosophiques et sur les dispositifs textuels et littéraires témoignant de cette pervertibilité en acte dans l’ensemble du corpus derridien.
Although Jacques Derrida never addressed it head-on, the problem of pervertibility is often conceptualized in his work by way of paradoxes and questions, such as those of hospitality and the promise. This doctoral thesis explores the limits and scope of the protean notion of pervertibility, its stakes and its manifestations, as well as its relationship with language and meaning. Multidisciplinary in nature, it simultaneously focuses on philosophical concepts and on the textual and literary devices that bespeak this pervertibility, operative throughout Derrida’s entire body of work.

Dissertação de Mestrado Erasmus Mundus: Filosofias Francesa e Alemã no Espaço Europeu apresentada à Faculdade de Letras
A dissertação visa em um primeiro momento uma reconstituição da metodologia de cartografia subjetiva em Deleuze e Guattari, apresentando o exemplo cartográfico proposto por Suely Rolnik e, finalement, na criação de um personagem conceitual nomeado como Venus Caôzeira. Esta abordagem deve ser entendida através da apresentação da metodologia presente no livro Cartografias Sentimentais: Transformações Contemporâneas do Desejo (sem Tradução), escritas por Suely Rolnik.Neste texto, Rolnik se baseia na géofilosofia de Deleuze e Guattari, tanto pela criação de personagens que traçam o plano de consistência e o plano de imanência do conceito e os respectivos investimentos de desejo, tanto pela conceituação dos três movimentos do desejo ou três linhas da vida: linhas de territorialização, linha de reterritorialização / simulação e linhas de desterritorialização / fuga. De acordo com Rolnik, os três movimentos do desejo estão no âmbito da reflexão sobre o que a geofilosofia trata enquanto devires e desejos, visualizando a paisagem psico-social específica e, no nosso caso a paisagem psico-social feminina.Suely Rolnik nos dará a criação de vinte e sete personagens conceituais em torno da análise do desejo feminino e de suas práticas amorosas. Nesta dissertação, nos concentraremos especificamente em dois desses personagens: o coronel-em-nós e a noivinha-antropófaga-tropicalista-carnavalesca.Os dois personagens conceituais incorporam essas linhas de desejo de acordo com seu modo de vida e suas políticas de subjetivação. Para mostrar a representação feminina no caráter conceitual coronel-em-nós usamos a figura mitológica da Vênus porque ela simboliza a forma tradicional da representação feminina. A segunda parte trata da figura da noivinha antropófaga tropicalista, descrita como a personagem capaz de criar novas subjetividades.Usando os personagens conceituais e análise do desejo feminino propostas por Suely Rolnik (Coronel-em-nós e noivinha antropófoga-tropicalista-carnavalista), a nossa ambição é revelar universos descoloniais femininos e feministas brasileiros, por meio do corpo teórico de Deleuze e Guattari com os personagens conceituais e a metodologia da cartografia sentimental.
The dissertation aims at a first moment a reconstitution of the methodology of subjective cartography in Deleuze and Guattari, presenting the cartographic example proposed by Suely Rolnik and, finally, in the creation of a conceptual personage named Venus Caôzeira.This approach should be understood through the presentation of the methodology present in the book Sentimental Cartographies: Contemporary Transformations of Desire (without Translation), written by Suely Rolnik.In this text, Rolnik draws on the genius of Deleuze and Guattari, both for the creation of characters that trace the plane of consistency and the plane of immanence of the concept and the respective inversions of desire, both for the conceptualization of the three movements of desire or three lines of life: lines of territorialization, reterritorialization / simulation line and lines of deterritorialization / escape. According to Rolnik, the three movements of desire are in the scope of reflection on what geophilosophy treats as devires and desires, visualizing the specific psycho-social landscape and, in our case, the female psycho-social landscape.Suely Rolnik will give us the creation of twenty-seven conceptual characters around the analysis of feminine desire and its loving practices. In this dissertation, we will focus specifically on two of these characters: the colonel-in-us and the anthropophagous-tropical-carnival-bride.The two conceptual characters incorporate these lines of desire according to their way of life and their politics of subjectivation. To show the female representation in the conceptual character colonel-in-us we use the mythological figure of Venus because it symbolizes the traditional form of female representation. The second part deals with the figure of the tropicalist anthropophagous bride, described as the person capable of creating new subjectivities.Using the conceptual characters and analysis of feminine desire proposed by Suely Rolnik (Colonel-in-us and anthropophagous-tropicalist-carnivalist boyfriend), our ambition is to reveal Brazilian female and Brazilian feminist decolonial universes, through the theoretical body of Deleuze and Guattari with the conceptual characters and the methodology of sentimental cartography.
Outro - Université de Toulouse Jean Jaurès - Mirail . Bolsa Erasmus Plus

L’Atelier contemporain recueille la plupart des textes sur l’art de Francis Ponge. Malgré sa réputation de « poète des choses », celui-ci n’y écrit pourtant pas avant tout sur les œuvres finies (les tableaux), mais plutôt sur les artistes mêmes. S’appuyant sur un approfondissement de la conceptualisation de la poétique pongienne comme érotique entre le sujet et l’objet, ce mémoire cherche à découvrir, à travers les questions particulières que la peinture pose à l’écriture de Ponge, les raisons du déplacement du regard de l’écriture de la chose muette à la personne parlante. Il semble que Ponge, face à des œuvres artistiques non verbales, soit à la recherche d’une signifiance qu’il ne peut trouver, ce qui l’oblige à se tourner vers les personnes. Mais ces personnes finissent toujours par céder la première place, dans L’Atelier contemporain, au « je » du poète.
Francis Ponge’s L’Atelier contemporain is a collection of most of his texts on art. In those texts, despite Ponge’s reputation of “poet of things”, his primary focus is not put on the finished works (the paintings), but rather on the artists themselves. Supported on a deepening of the conception of Ponge’s poetic as an erotic relation between the subject and the object, this master’s thesis aims at discovering, through the specific questions that painting asks to writing, the reasons of the shifting of the look from the mute things to the talking persons. It seems that Ponge, facing non-verbal artistic works, is seeking a power of significance that he cannot find, which forces him to turn towards the persons. However, these persons always yield, in L’Atelier contemporain, to the poetic subject.